Tag Archives: New York

MY CINEMATIC ROMANCE #17 – SPIKE LEE

MY CINEMATIC ROMANCE #17 – SPIKE LEE

Shelton Jackson “Spike” Lee has been a prolific actor, director, producer and polemicist for some time now. An ultra talented and outspoken cinematic artist, he has directed thirty fiction and documentary films since his debut feature film She’s Gotta Have It (1986). Plus, all manner of promos, commercials, music videos, short films and television series.

To celebrate his work and the fact he finally got recognised for his amazing filmmaking skills by the Oscars this year, I would like to highlight, five of his finest films that are worth watching and rewatching. An energetic firebrand of a director he has made films in many genres and is a risk-taker in subject, theme and style. Whether you agree with what he has to say he is a filmmaker who is always creating situations and characters who must be heard. Here are some great examples of his cinematic work.

**MAY CONTAIN SPOILERS**

DO THE RIGHT THING (1986)

Spike Lee’s incendiary look at the day in the life of a Brooklyn neighbourhood finds a variety of characters coping with both rising temperatures and simmering racial tension. Lee’s brilliant script is fully of boldly written and brightly sketched characters presented via a succession of hilarious and dramatic vignettes. The formal excellence on show too from Lee is to be applauded as he uses devices from: music video and cinema to tell his rich stories. The day does not end well as the neighbourhood erupts into tragic violence with Lee proving himself adept at balancing humour, politics and tragedy in equal measure.

MALCOLM X (1992)

Arguably, Malcolm X (1992), is Spike Lee’s most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever seen. The project took decades to come to the screen and Lee and Washington both faced objections from many parties for their involvement. However, the finished film a masterful biography capturing the spirit of an intelligent, passionate and outspoken individual trying to right the wrongs within American society and history. Both Lee and Washington should have won Oscars for their work. The film stands ultimately as a fine cinematic tribute to a true spokesperson for a generation.

HE GOT GAME (1998)

From my basic research Spike Lee is revealed to be a New York Knicks fan. It’s no surprise then his love of basketball really shines through in this mix of sport, crime and personal drama. The story follows young hot-shot basketball prospect, Jesus Shuttlesworth, and the decision he has to make in regard to which college he goes to. On paper it’s Jesus’ choice but in reality he has all manner of people attempting to influence him. These include: his girlfriend, his coach, agents, local gangsters and most pressing of all, his jailed father portrayed by Denzel Washington. Ray Allen is excellent as Jesus and Lee invokes an empathetic character study with lashings of verve and style.

INSIDE MAN (2006)

Spike Lee directs in confident style, with Denzel Washington and Clive Owen both excellent as the lead cop and main criminal. Jodie Foster is brilliant too as a venal fixer brought in by Christopher Plummer’s bank owner. What makes Lee’s direction ping here is his deft handling of a complex structure within the heist genre. Moreover, Lee demonstrates he is able to convey a genre story with impeccable skill and deliver fine screen performances to boot. I especially loved the diversity of the supporting characters and the film oozes a pure New York atmosphere throughout.

BLACKKKLANSMAN (2018)

BlacKKKlansman (2018) is a complex film which expertly mixes many genres, infusing musical, thriller, Blaxploitation, comedy and documentary styles, making it a joy to experience. Spike Lee has never been afraid of experimenting and sometimes his films have not worked because of it. However, with this he succeeded in making one of the best films of 2018. It should have won Best Film Oscar in my view. It is thought-provoking but never preachy for the sake of it and uses humour most often as a weapon to undermine the senseless ideologies of the KKK. Indeed, in ridicule there is hope they may eventually be side-lined to the shadows of history.

JOHN WICK: CHAPTER 3 – PARABELLUM

JOHN WICK: CHAPTER 3 – PARABELLUM – MOVIE REVIEW

Directed by: Chad Stahelski

Produced by: Basil Iwanyk, Erica Lee

Screenplay by: Derek Kolstad, Shay Hatten, Chris Collins, Marc Abrams

Cast: Keanu Reeves, Halle Berry, Laurence Fishburne, Mark Dacascos, Asia Kate Dillon, Lance Reddick, Ian McShane, Anjelica Huston etc.

Cinematography: Dan Laustsen

**MAY CONTAIN SPOILERS**

Have you ever thought: what’s the point in carrying on? We know we’re going to die someday so why bother trying to live? Dead French bloke Albert Camus wrote an existential essay called The Myth of Sisyphus and deemed life an exercise in the absurd. He offered mythological character Sisyphus as an example. Sisyphus was condemned to immortality for deceiving the Gods and his penance was to push a massive rock up a hill over and over. Camus wasn’t all doom and gloom, because he opined Sisyphus’s struggle ultimately gave his life meaning.

Why am I skirting around such philosophical musings? Well, John Wick is a classic “Sisyphean” character; destined to a repetitive cycle of life and death with very slim reasons for carrying on. In the first film it was revenge. In the second film it was paying back a marker; and then revenge. In the current, and third film of the franchise, it’s because he broke the rules of the assassin’s world and must pay the $14 million price. Plus, more revenge.

Yet, plot and reason are not the main purpose for watching this franchise. I watch it for the non-stop-Asian-infused-rainy-New-York-noir-flavoured-non-stop-balletic-violence-and-stunts. Here the incredible death toll and bloody killing is differentiated somewhat with: animals, vehicles and assorted sharp ojects joining the array of guns and fists used to hurt the two-dimensional bad people sent by the mysterious High Table gangsters. It doesn’t pay to analyse the film with logic, so just enjoy the immaculate: set design, art direction, cinematography, choreography, editing, visuals; and all-encompassing sound and fury.

Keanu Reeves, once again ignores the limits of his emotional range to deliver a formidable physical performance. Just his face, actions and movement alone are enough to convey his desires. Meanwhile, the writers open out John Wick’s back-story; shading in his past relationships and historical beginnings. This allows us to escape New York and venture to the Middle East, for a bit of sun and much needed change of scenery.

The film also welcomes a slew of fine character actors in support roles including: Halle Berry, Jerome Flynn, Asia Kate Dillon and Angelica Huston. They join the ever reliable Ian McShane, Laurence Fishburne and Lance Reddick from the first two chapters. Although, someone may have asked Fishburne to “rain” in his more bombastic moments, it’s still fun to see Neo and Morpheus on screen together. Oh, but the stunt dogs and 1990s B-movie action hero, Mark Dacascos, steal the show in their featured moments.

Overall, while showing signs of formula fatigue, John Wick: Chapter 3, remains a simple but wonderfully entertaining guilty pleasure. The choreography within the fight scenes and car/horse/motorcycle chases just transcend the action genre. Using: humour, pace, shock and sheer kinetic power they consistently startle and astound. Lastly, one could look at Wick’s character in mythical terms, perpetually fighting the Gods and forever pushing the rock up that hill. Indeed, I guess, like Sisyphus, Wick will carry on ad infinitum as long as there is someone to kill; and an audience wanting to watch such exquisite carnage on a big screen.

Mark: 8.5 out of 11

BILLIONS (2016 – ) – SEASON 3 – SHOWTIME REVIEW – “Television Theatre of the highest order!”

BILLIONS (2016 –   ) – SEASON 3 – SHOWTIME TV REVIEW

Created by: Brian Koppelman, David Levien, Andrew Ross Sorkin

Starring: Paul Giamatti, Damian Lewis, Maggie Siff, Malin Åkerman, Toby Leonard Moore, David Costabile, Condola Rashād, Asia Kate Dillon, Jeffrey DeMunn

Distributor: Showtime Network

**MAY CONTAIN SPOILERS**

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After experiencing the dizzying, serpentine narrative cul-de-sacs and mazes of Westworld Season 2, I was grateful to drink in the relative comfort of some genre drama that actually made sense. I mean I don’t mind working hard to gain pleasure from the TV viewing but non-linearity for the sake of it, or because the writers are so self-aware, they believe it is demanded of them irks me somewhat. The writers of Billions on the other hand rely on: good old proper plotting; sharp and witty dialogue; well-rounded archetypal characters; fantastic scenery-chewing performances; and an uber-ensemble cast of television and cinema actors to die for.

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Once again, Season 3 posits a similar question to the last two: how do you make the rich and privileged empathetic? Well, firstly you have the aforementioned brilliant cast of vintage screen actors, notably: Paul Giamatti, Damian Lewis, Maggie Siff, David Constabile, Jeffery DeMunn, Malin Akerman, plus exceptional newcomers such as Asia Kate Dillon; and finally parachute in veteran warhorses like John Malkovich and Clancy Brown. Secondly, you make these greedy and power-hungry legal and financial based individuals brilliant at everything. Thus, pleasure is derived from the characters trying to out-brilliant and out-do themselves. In Season 3, the writers manage to find some more exceptional ways which the characters can fuck each other over.

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The first two seasons saw Giamatti’s Attorney General, Chuck Rhodes try and take down financial demon of Wall Street, Bobby Axelrod. Watching these two rich-privileged-masters-of-universe-types ripping each other apart from a legal, family and financial perspective is absolutely riveting drama. I’m not always down with the fast-paced nature of the economic markets but essentially you don’t have to be because the writing always puts the human drama first before the jargon.   Season 3 followed in a similar vein to the previous two and contained a very interesting structure. The writing continued to be whip-cracking funny and twisted and the plots were a joy; full of arch Machiavellian machinations galore. The twists around episodes six and seven were absolutely brilliant and I was gripped. The final few episodes then manoeuvred the characters like chess pieces, carefully laying the foundations for what promises to be a monumental, melodramatic and mesmerising Season 4.

(Mark: 9.5 out of 11)